Sandra's masochist attempt to push her colleagues the dilemma between her job or their bonuses is overly repetitive but is enough to stop pitying her and really hate her to the guts. Well done Marion Cotillard, but don't come crying at my door 'cause I choose the 1000€, right on.

The Dardenne brothers simply explore the life of Beligum's lower class society - some good acting there alongside great cinematography (as usual) and a happy ending. The best is still yet to come and much to be seen by them.

It would be very comfortable to despise this film on behalf of an alleged impatience over the same that Dardenne's cinema has become, or, as is my case, admire them for the consistency with which his work is a compelling body of leftist cinema, with a relentless narrative power and an exemplary ability to respect the ambivalence of being human. Rosetta grew up and lost the symbolist stuff that trivialized her.

European Film award earned by Marion Cotillard. This movie could have been radical and insipidly dull if not directed by the Dardenne brothers who are more humanists than pure dogmatists. Social cinema at its best. Highly recommended.

***1/2 We get so many compositional barriers--vertical metal, walls and corners, streets, light--between Sandra and her co-workers. And the Dardennes make a large part of this film about Cotillard simply moving with subtle drama between shadow and light, a deep Murnau-ish thing. The narrative structure feels burdensome though; the framework is TOO "fixed" perhaps. This reflects theme, yes, but it also drew me out.

The characters move through space in order to establish a meaning for their pain - all is compromised here, every action is judged by the eyes of those who see this story, as well for those who conduct it. The weakness of one person may be it's strength, but will he endure it? A movie about opposites sides and moral judgement. I was very surprised.

Gut-wrenching moral dilemma, la specialite de les freres Dardennes. Superb performances all around: Marion Cotillard is intensely compelling, and it is always nice to see Olivier Gourmet as a villain, even if it is just a cameo appearance. No incidental music :-) but when they turn on the car radio, it is great: "Needles and Pins" (in French), and "Gloria". The Dardennes are not capable of making a bad film.